Sunset Over the Ice on Chaumont Bay, Lake Ontario, a watercolor painting, is said to be the only major painting made after the immediate aftermath of the explosion and stands as vivid testimony to the great eruption. One of those artists was, Frederic Edwin Church, a member of the Hudson River School, an American nineteenth-century painting group. In a book on the phenomena of Krakatoa, ( The Day the World Exploded: Augby Simon Winchester) the volcanic eruption that could be heard clear across the world, the writer states that "Art was born out of the after-effects of this volcano." After millions of tons of dust were hurled into the air in the East Indies, it disseminated around the world for many years and extraordinary sunsets were seen in unusual colors and hues exciting many landscape painters. Sir Kenneth Clark also wrote that Henri Rousseau's ideal of total immersion, could be seen in the paintings of both J.M.W. Its rise and development since the Middle Ages is part of a cycle in which the human spirit attempted once more to create a harmony with its environment." Sir Kenneth Clark also wrote that, "landscape painting was an act of faith and in the early nineteenth century as values declined, faith in nature became a form of religion." and "Almost every Englishman when asked what he thought was meant by the word 'beauty' would begin to describe a landscape." He said that, "we are surrounded by things which we have not made and which have a life and a structure different from our own and for centuries have inspired us with curiosity and awe." He continued to say that, "Landscape Painting marks the stages in our conception of nature.
#Scenery paintings series
In Europe, as John Ruskin realized, and Sir Kenneth Clark brought to view, in a series of lectures to the Slade School of Art, London, that Landscape Painting was the "chief artistic creation of the nineteenth century," with the result that in the following period people were "apt to assume that the appreciation of natural beauty and the painting of landscape is a normal and enduring part of our spiritual activity" In Clark's analysis, underlying European ways to convert the complexity of landscape to an idea were four fundamental approaches: The word entered the English vocabulary of the connoisseur in the late seventeenth century.
#Scenery paintings Patch
The word landscape is from the Dutch, landschap meaning a sheaf, a patch of cultivated ground. Traditionally, landscape art depicts the surface of the Earth, but there are other sorts of landscapes, such as moonscapes and starscapes for example. Even then, they were thought of as very low on the scale of subject matter, second only to the flowers and fruit varieties. In Western art, Landscape painting before the sixteenth century, with few exceptions, such as wall pictures in the Hellenistic period, have been mostly a decorative backdrop until the seventeenth century when serious artists of 'pure' landscape were active. Study of Gneiss Rock, Glenfinlas, Pen and ink and wash with Chinese ink on paper, by John Ruskin, 1853 Turner, the Impressionists and Luminists in the United States of America. In the West, the ever shifting seasons and subtleties of changing, suffused light, created a very different style of painting, championed by artists such as the Dutch Masters, the Romantics and the sublime, W.J.M. It is said that, the overall flood of constant heat and light in the Orient created the monochromatic styles there and the use of pure line as a graphic description. Landscape painters are also painters of light. "Landscape is a state of mind." Swiss essayist, Henri Frederic Amiel, nineteenth century.
By using light ink and magnificent composition to express his open and high artistic conception this piece shows a scene of deep and serene mountain valley covered with snow and several old trees struggling to survive on precipitous cliffs. 1020–1090) a representative painter of landscape painting in the Northern Song dynasty, well known for depicting mountains, rivers and forests in winter.
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